Protective excavations at Petrovaradin Fortress in the period
2002 - 2004 had unearthed 369 mainly fragmented clay pipes.
They were systematized on the basis of typology established
by Béla Kovács and Gábor Tomka, Hungarian archaeologists
who had interpreted material from different fortresses in the
Ottoman Empire and Habsburg Monarchy which once
encompassed the Petrovaradin Fortress as well. Pipes are
classified into three groups: Turkish, mixed Turkish-
Hungarian and pipes bearing stamps of Central Europe
workshops. The oldest is the group of Turkish pipes and it
corresponds with the long Turkish rule over Petrovaradin
Fortress (1526-1691). Turkish pipes are divided into three
groups: decorated, made in fine clay moulds, well fired with
plenty of forms and richly decorated (relief and impressing by
stamps, tubes and rollers); undecorated, of lower quality and
due to cheap production costs massively produced, they were
used by poorer social layers; pipes with rosettes, moulded,
most often white glazed, with rosette decoration on both sides
of the receptacle. Turkish pipes which stayed in use at
Petrovaradin Fortress even after the departure of the Turkish
troops (based on analogies they are dated within a longer
period between the seventeenth and nineteenth centuries)
testify to their popularity among soldiers serving in the
Austro-Hungarian army.
Mixed group of Turkish-Hungarian pipe forms developed by
the end of the seventeenth and during the eighteenth
centuries in the bordering zones of Hungary, where their
production started emulating Western, “Dutch” and Eastern
“Turkish” (less refined shapes and coarse manufacturing)
forms in which process the Eastern influence was stronger.
The youngest group of pipes with stamps of the Central
European workshops was manufactured by the end of the
eighteenth and in the nineteenth centuries. The best known
workshops come from Debrecen and Banská Štiavnica and
from the workshops from this circle (Körmend, Vasvár and
Pápa). Most frequent finds of pipes at Petrovaradin Fortress
are those with KŐNIG workshop stamps. They are of high
quality, having a characteristic form with high receptacle,
shell-like or semi-circular lower part and short stem taking
acute angle to the bowl. Most frequent inscriptions are
M.HŐNIG. WW./SCHMNITZ,.M.HŐNIGSOHN/
SCHEMNITZ, M. HŐNIG/SCHEMNITZ. Many of the pipes
bear stamps of FRANZ/BRUNNER and A. RESS workshops.
Most of the pipes found at the Petrovaradin Fortress are
imports brought in by soldiers since they were those who first
introduced pipe smoking habits into these parts but also
workers and craftsmen from other parts of the region who
were hired to build this monumental fortress. Pipes were also
imported through trading using the Danube routes mostly.

Introductory description of high toe mules (nanule) defines
them as specific type of footwear made of wood and often
richly decorated. The name for this kind of footwear – sedefli
(sedef – mother of pearl) toe mules is derived from its costly
decoration, most often made of mother of pearl. Then follows
a description of Oriental life and dressing styles including
particularities related to woman's urban costume during the
nineteenth century Serbia.
In the chapter on Toe Mules, Hammam and Customs, the
customs and rituals characteristic for going to a hammam
(Turkish bath) are analysed including both the pictorial
sources provided by European artists with illustrations of
Turkish baths and written topical sources from national
literature. Growth of the Ottoman Empire implied spreading
of Oriental ways of life whereby toe mules were part of
footwear not only in Turkey but also in Syria, Lebanon,
Palestine, Egypt and Tunisia. As for the Balkans, this type of
footwear was habitual in Greece, Macedonia, Serbia, Kosovo
and Metohija and Bosnia and Herzegovina. Pictorial sources
(the oldest visual representation found is dated into the
beginning of the sixteenth century) served as basis for
chronology of toe mules wearing. It is generally understood
that toe mules were primarily part of woman's costume and its
use was linked with visits to a Turkish bath. However, visual
and written sources as well as professional literature prove that toe mules were widely worn both in homes and beyond, in
yards, on streets. They were likewise worn by men and
children.
Catalogue entries related to toe mules kept in the Textile and
Costume Department of the Museum of Applied Art in
Belgrade provide information on materials used, decorative
techniques and ornaments applied on lavishly decorated
samples. Types of mules differ but they are all of similar size
though their shape and decoration may differ.
Luxurious specimens of toe mules must have been produced
by good craftsmen. Available literature helped writing the part
of our paper dealing with distribution of toe mules and
saddler workshops which are linked with toe mules
manufacture. The concluding part of the paper treats the
importance of wooden footwear in general, provides a
reduced survey of wooden footwear distribution, in particular
shoes with platforms produced and worn not only within the
Balkans but also throughout Europe, Asia, Far East and
Africa.

The Metalwork and Jewellery Department of the Museum of
Applied Art houses a collection of jewellery from the bequest
of Irina Simić. The collection consists of eighteen pieces of
jewellery manufactured primarily in Europe during the
nineteenth and twentieth centuries. Irina and Ljubomir Simić
originate from urban Russian respectively Serbian families at
the turn of the nineteenth century. Objects preserved are
partly their family heirloom and partly purchases made
during the life of Mrs. Simić. Most numerous are breast and
neck worn pieces (brooches, pendants, medallions,
necklaces) and bracelets. Material used is primarily gold and
silver decorated in many ways – engraved, gilded, polished,
embellished with diamonds and precious stones,
multicoloured enamel or precious materials (mother of pearl,
corals, shells). All the objects, particularly those produced in
the nineteenth century, are typical of their time both in the
sense of art and craft. However, it is for their look, elegance
and craftsmanship that we would single out a lady's watch
shaped as pendant (Cat. No. 7) embellished with dark blue
guilloché enamel and with an image of a genre scene on its
backside; further, a brooch from the second half of the
nineteenth century (Cat. No. 2) deserves attention for its most
decorative frame which is shaped as a tiny floral stripe of
circular cross-section additionally engraved and ornate with
black enamel; also a very fine cameo from the 1870s (Cat. No.
5) representing a typified profile of a young woman with
carefully worked out details. Among the objects from the
twentieth century some of the pieces show traits of traditional,
folk art: for example, a silver necklace from Mexico (Cat. No.
16) and hinged bracelets (Cat. No, 14, 15) but there are also
works of renowned Belgrade jewelers (Cat. No 10, 11) from
the between-the-two-world-wars period.

Krakow at the end of the 19th century provided the ideal condition for the development of independent spiritual and artistic views and behavior. With such strong foundations, the atmosphere of the city had to influence all areas of life, including fashion. The artists, especially under the influence of the folk culture, designed many of the creation.
At the beginning of the last century, Krakow artists developed a new conception for designing kilims.

The Collection of Photographs at the Museum in Jagodina
houses one well-preserved ferrotype picturing two
unidentified persons. The process used was that of wet
collodion coated on iron sheets. Ferrotype was an early
photographing technique devised as result of the attempt to
create a simpler and cheaper replacement of the
daguerreotype. It was introduced by Adolph Martin and
patented in 1856 by Hamilton Smith, an American scientist,
photographer and astronomer who taught chemistry and
physics in Ohio. Two American companies rivaled in the
production and the company run by Peter Neff called them
melainotypes while that of Victor Moreau Griswold named
them ferrotypes. Tintype was the third term, which though of
later date, was in use in literature. The entire process was
relatively simple and would take only few minutes to
accomplish. The collodion emulsion mixed with potassium
iodide would be coated on thin iron sheets varnished black.
The treated plate was then sensitized by soaking it in solution
of silver nitrate. While the collodion was still moist, the plate
was exposed. The exposition lasted for short time only. After
that the photograph was developed, fixed, rinsed and coated
by transparent protective varnish. First ferrotypes used to be
inserted in decorative boxes while later various types of
frames were made and finally paper and cardboard envelopes
usually in cartes-de-visite format prevailed. Occasionally, no
encasement was used. From the United States they expanded
to England, Australia and New Zealand. They used to be made
by traveling photographers who worked at fairs, bazaars, in
tourist resorts or simply in the streets. This was the reason for
the quality of photograph to entirely rely upon the
photographer's skills who often were craftsmen in pursuit of
fast and easy earning. The only object of photography was
portraiture, and the invention of camera with several lenses
allowed for small dimensions ferrotypes to be made (as small
as post stamps) or even smaller which would then be inserted
into brooches, tie-pins, cuffs and other jewellers. In
comparison to other early photographing techniques,
ferrotypes had much longer life extending even to the World
War II. The importance of ferrotype lies in the fact that it made
photographs available to broadest social layers. They are
rarely found in museums in Serbia; however, they are more
often kept in private collections.

The National Museum in Krakow has a biggest collection of Polish Art Nouveau poster. The artistic poster phenomena began in Poland very early, in 1894. The greatest Polish artists, such as: Stanislaw Wyspianski, Wojciech Weiss, Teodor Axentowicz and many others designed the numerous posters connected with the artistic life of the city . The poster exhibitions started since 1898. Untill the end of the First World War Krakow and Lvov were the main centers of the Polish art of printing and poster. The author presents the artistic position of Krakow, its greatest artists, the tendencies and influences that were popular in that time.

There are only few titles in Croatian art history which treat
applied art women artists – in particular when textile applied
art is concerned. Lace is by definition a textile product linked
to female handcrafting. Significant female creators who were
fashioning textile, utility items, clothes and accessories also
engaged in making designs for laces and/or in making laces.
Zlata Sufflay was one of the first recognized creators of lace
designs who also made laces. She was a woman of many gifts:
teacher, lace designs creator – artist, lace maker, historian and
theoretician of lace making, museologist and writer.
Zlata Sufflay was born in the village of Jesenje in Hrvatsko
Zagorje region in 1873. She got her elementary education in
the monastery of Ursuline nuns in Varaždin and in 1893 she
graduated from the Teacher-training school led by Sisters of
Mercy in Zagreb.
She spent one year teaching in villages of Zagorje region, and
then was reassigned to Lepoglava where she worked as teacher
and head of lace making course from 1894 till 1897. Her lacemaking
course followed given programmatic foundations and
she was gradually introducing her own lace designs, which she
called – laces by Zlata Sufflay.
After Lepoglava she was reassigned to Varaždinske Toplice
where in the period from 1897 till 1913 she worked as teacher
and head of the Professional lace making course. Since
Varaždinske Toplice was a tourist resort, she organised
making and selling of laces as a tourist souvenir. She often
engaged in field researches focused on collecting information
on traditional textile handcraft. However, due to her feeble
health condition she moved to Zagreb, to the Museum of Arts
and Crafts. After she left Varaždinske Toplice the lace-making
course in that place came to an end.
In November 1913 she began to work as curator of the textile
collection in the Museum of Arts and Crafts. During her
service in the Museum she both created designs for lace
patterns and made laces after them. She then divided the lace
patterns into nine maps. These works were results of her
endeavours to establish common Croatian lace as creative
assessment based on researches and interpretation of motifs
and ornaments taken from the traditional textile handcraft.
Besides Croatian laces, she used her own designs in making
other South Slav and Balkan origin laces: Serbian,
Macedonian and Albanian. Inspiration for these laces she
found in historical researches of her brother Milan Sufflay
and in folk songs, myths and legends. She worked in the
Museum of Arts and Crafts until she retired in 1926.
During her service in the Museum she researched the
Lepoglava lace making tradition and published series of
articles on the subject. Her most significant publication is
The Croatian Traditional Lace in Home and on the Altar
(Hrvatska narodna čipka na domu i na oltaru) self-published
in Vienna in 1918. The book offers a historical survey of
development of Croatian lace as well as of Lepoglava lace
making and advocates original Croatian lace making as an
item which should find its place in every Croatian home and
on every altar.
Significant part of her activities was dedicated to
participations at many exhibitions in the country and
abroad. The most important one was the Exposition
Internationale des Art Decoratifs et Industriels Modernes held
in Paris in 1925 where she was awarded silver medal for her
lace A Fan.
During her retirement time she was most active in writing
and publicising which allows for her opus to be divided into
papers dealing with lace-making and those in the domain of
religious and literary fiction titles, which she published
under different pseudonyms. She was also engaged in
establishing the Croatian Lace-Making School in Varaždinske
Toplice. She almost succeeded in realization of her project
but the World War II spoiled her plans.

Belgrade architecture between the two World Wars was
marked by building development of family houses and villas
besides representative public objects. Architecture of family
houses as designed by Belgrade architects represents specific
typological models which excel among common more-thanone
family housing. Within the frame of the epoch and in
accordance with their individual inhibitions, the architects
designed their own houses according to their individual needs
and manifestly insisted on recognizable marks they left on the
type and intensity of the visual approach to the exterior
mainly. One of the outstanding examples of this concept is the
interesting architectural design of the family villa of the
architect Bogdan Nestorović located on 69, Kneza Miloša
Street. Save for the recognizable “Belgrade flats” type, the
construction of the Nestorović home is not inferior to the
construction framework of most of the houses built in
Belgrade at the period. However it introduces no innovative
characteristics into the original concept of a house. On the
other hand, when the intensity of the aesthetic connotations of
the localized facade elements in the exterior is concerned, the
Nestorović house embodies the recognizable personal affinity
of the architect as the author and owner of the space. Refined
by facing brickwork as reminescence of their domestic
medievistic origin the cubic setting of the Nestorović villa
construction represents undoubtedly a contribution to its
interesting visual effect but also to the visual perceptions of
the author or commissioner. Using models from the
authenthic vernacular architecture architect Nestorović
proved himself once again a pronounced scholar having
original plan for designig his own home. By exogamy of
different forms of decoration consisting of minutely shaped
motfis, placing details and elements within modern cubic
form he accomplished harmony of proportions and
combinations of mass and surface which are a recognizable
mark of the Belgrade opus of the arhchitect. In his brilliant
approach to designing his own space, Nestorović was led by
his personal romantic views without noticeable reference to
his previous building achievements. Although Nestorović had
created more than ten private houses commissioned by
different owners, he managed the original and unharmonized
concepts for these objects mainly in order to satisfy diverse
requests of the commissioners but also in the attempt to avoid
monotony and unfavourable effects of serial production.
When designing his own house Nestorović proved equally
innovative and followed his personal and evident fascination
with architectural stone plastic of the eastern Adriatic. Having
been built as one of the last housing objects in Kneza Miloša
Street in the eve of the World War II, villa Nestorović is in the
same time an important model of inverted approach to the
issue of permanent relation between the artist and his work.

Within its collection of posters and graphic design works, in
the fund of feature films posters the Contemporary Applied
Art Department of the Museum of Applied Art in Belgrade
houses three posters designed for feature films of Federico
Fellini (1920-1993): La Strada (1954), Inv. No. 6327; Le Notti
di Cabiria (1957), Inv. No. 3715; and 8 ½ (1963), Inv. No. 5781.
Fellini received Best Foreign Film Academy Awards (Oscar)
for work on these films as well as for his Amarcord (1973).
Films Le Notti di Cabiria, La Strada and 8 ½ represent visual
metaphors for the inability of the main woman characters to
be free and this is achieved either by Fellini's neo - realistic method as in La Strada, surrealistic one as in 8 ½, or even as
fusion of these two methods as in Le Notti di Cabiria. The pose
Cabiria's body takes on the poster for Le Notti di Cabiria
implies her subordinance to Oscar while neurotic expression
on his face suggests the tragic end of the film. The poster as
does the film itself combines two fundamental psychological
motifs – that of Eros and of Thanatos. La Strada is a story of
Zampanò and Gelsomina, of a street entertainer and his
assistant. It is exactly that inability to feel free that forces
Gelsomina not to leave Zampanò in spite of his physical and
sexual harassment. According to Bataille “eroticism opens
path to death” at least when the eroticism of body as “violence
against the very being of the partner” is concerned. By suppressing the Eros, i.e. by denying the normal sexual and
romantic liaison with Gelsomina, Zampanò is subdued by the
negative psychological impulse which finally wins over. The
relation master-servant is established on all the three posters
in the first place by positioning of the main characters.
Poster for the film 8 ½ indicates that the film embodies certain
characteristics of Fellini's handwriting, unusual for the
remaining film production of the period. Surrealistic
combination of main characters, Guido and Claudia, suggests
a sexual and perverse relation between Eros and Thanatos
which ends in dominance of the negative psychological
impulse. The scene of Guido swinging a whip emphasizes the
sadistic relation existing between the main character and
women in his life. In the first part of the film Claudia's
character is just a phantasm of Guido – she appears only twice
and without entering a dialogue with him; her role develops
into dramatic one only at the end of the film. On the other
hand, the melancholic body position and face expression of
Claudia indicate the vulnerability of female characters in the
film 8 ½. Having brought Guido and Claudia into a unique
sado-masochistic relation the designer of the poster
successfully defined relation between the main characters of
the film. Similarly to the Le Notti di Cabiria and La Strada
poster for 8 ½ joins the two actors although in the film itself
there is no single frame in which they would take these
positions, wear such costumes, not even the set is the same as
the one existing in the film. The author of the poster evidently
wished to establish dramatic relation between the two
characters and by this to introduce the plot scheme with a
sado-masochistic or tragic and dramatic imbroglio.
Taken as a whole these posters represent means of communication
between the director, media and the public using two
graphical dimensions to exemplify director's idea. The film
posters for La Strada, Le Notti di Cabiria and 8 ½ bring closer
the current understanding of male-female relations in our
society in the same way as the mentioned films illustrate
models of these relations prevailing in the period. Rating
figures of Fellini's films were very high and part of the success
was certainly due to the creators of posters which graphically
translated onto paper the ideas and messages of his films.

The design of Ambrogio Pozzi begun in ceramic (clay,
majolica and porcelain) and ceramic remained his constant
and privileged interest in his contribution to what was defined
as “a new domestic landscape”. Parallel to university studies of
chemistry, Pozzi has attended the Institute of Arts in Ceramic
in Faenza (l'Istituto d'Arte per la Ceramica di Faenza). In
1950, he begins collaboration with his paternal company: the
Franco Pozzi Ceramics from Gallarate.
The clear consciousness of technical and technological
problems, faced in paternal manufacture, fused with the
influence of local artisan tradition and was consequently
reflected in his work: in 1953 the Sad Vases (Vasi squalo) – a
tribute to organicism of the Scandinavian mark as in table set
Arianna made in 1959 and awarded Palladio Prize in Vicenza;
from 1960 dates Rosanna series; from the early Sixties date
Britoil Europozzi and the Shopping series.
The table set Frida from 1963, the earthenware from 1964, the
TR 13 series ( Palladio Award, Vicenza 1964) and especially
the Compact set from 1968 (short listed for Golden Compass)
indicate perfecting of Pozzi's design methods and visions
which do not lean on vertical support and are based on
compound compatibility and multi functionality as their
minimal common denominator.
Dues to the world of Nordic and Scandinavian design, obvious
in his work after his sojourn in Sweden, Denmark, France and
Germany were done with and the most prestigious European
porcelain producer – Rosenthal summoned him for
collaboration. In 1968, he has created set Duo for the
Rosenthal, which remained in production until the end of
1997. Duo's exemplary form and functionality was awarded at
International Competition of Ceramics in Faenza. Same year
Pozzi was invited to Hallmark Gallery in New York to the
“Design Italian Style” exhibition.
Another important Pozzi's projects dates from early
Seventies: the china sets for Alitalia's cabin service. Together
with Joe Colombo, Pozzi designed entire food ware for both
economy and first class of the Italian flag carrier. Once again,
Pozzi responds to precise functional and representative
requirements with a clear, refined and intelligent projection
void of excessive formalism.
Though the successes of Duo, Cono and Alitalia were not to be
repeated, Pozzi continued his coherent research with sets
Primaluna, Tall short (Alto basso) from 1973, the Wood (I
Legni) from 1979, House (Casa) from 1989. The clocks
Temporotondo designed for Rosenthal in 1991 and the objects
performed in glass, metacrylate, crystal, Pyrex and silver
during Eighties and Nineties demonstrate, however, a greater
compromise with the emerging taste tendencies.

The ongoing development of museum activities in the last two
decades produced astonishing breakthroughs as to the
approach to cultural heritage. This inexorable transformation
process of museum displays is best witnessed by two porcelain
rooms, one in the Museum of Applied Art in Vienna and the
other in the Art Museum in Seattle. The first mentioned was
established at the beginning of 1990s and it marked the
passage to the interior of heritage (white cube of Donald Judd
as exterior in which the invisible becomes visible by means of
the paradox of minimalism and of the end of the century). The
second example comes from the end of the first decade of the 21st century (Porcelain Room in the Art Museum in Seattle as
interior virtual space) and it demonstrates hyper-textuality of
cybernetic museum in search of cultural identity. If the
century we are living in represents the world as an information
web then the requirements for changes in museum as well as
for its offers would be quite obvious if it is to be transformed
into a generative field of analog memory – that is to
continually make the already inevitable digital transformation
possible by remembering the past through comprehensive
network of the process of musealisation.

Dušan Janković (1894-1950) studied painting at the École
National des Arts Décoratifs while he lived in Paris (1916-
1935) at the same time when Art Deco was thriving. This style
was mostly focused on ornaments which makes understandable
why Janković was so concentrated on its development.
As it was customary at that time he would apply variants
of an ornament to different media – ceramics, porcelain, wall
decoration, carpets, clothes, posters etc. Janković created a
particular set of motifs inspired by Serbian and Macedonian
folk art already as senior student in 1920 and 1921. This
approach made him belong to that huge, international group
of Art Deco creators whose aim was to stylize folk art motifs
and transform them into modern and applicable designs for
fashionably modeled objects. By 1921 the work of Janković
was assessed as progressive achievement in Yugoslav
decorative art and a step toward “a general and world art”. It
was the way Janković linked the local aspect with the universal
and the traditional one with the contemporary that made his
work recognizable and to the liking of his Paris clients.
Dušan Janković made his first artistic steps in 1917 when he
went to Paris. There he cooperated with Atelier Serbe de Paris
where decorative and functional faience, porcelain and
ceramics objects were manufactured or just decorated.
During the 1920s he was most active in creating porcelain and
ceramic objects among other works. Besides art items which
he personally designed, manufactured and decorated, he
made designs for the Parisian porcelain factory Bloch et Fils in
1923 (it has not been possible to document cooperation with
this factory) and from 1924 until 1932/1933 his designs were
used in decorating various objects in Manufacture nationale
de Sévres. The work of Dušan Janković was highly appreciated
by the Manufacture nationale so much so that the long-time
manager Georges Lechevallier-Chevignard published in the
album representing modern production of Sévres three
objects decorated after designs of Dušan Janković. (Fig. 8, 9,
10)
The Museum of Applied Art in Belgrade keeps quite
a number of designs for porcelain and ceramics objects and
only two realized works by Janković. The designs are for
plates, decorative boxes, vases and tableware. They indicate
not only the gift of Janković to observe motifs and their
colouration correlation in folk art objects which he
transformed into modern Art Deco expression with
minimum of intervention but also of his ability to change and
open to modernistic trends which were invigorating during
the second half of the 1920s in France.
In 1924 and 1925 Dušan Janković exhibited his ceramic and
porcelain objects in Paris. At the group exhibition held in
Panardie gallery in 1924 he displayed his ceramics together
with paintings by four French women artists. In the following
year at the Expositions Internationale des Arts Décoratifs et
Industriels Modernes his works were displayed both at the
exhibition space of the Kingdom of Serbs, Croats and Slovenes
and that of Manufacture nationale de Sévres. As
representative of the Kingdom and due to the reputation he
enjoyed in Paris, at this exhibition Janković was elected the
vice-president of the international jury for ceramics.
After he moved to Belgrade in 1935 Dušan Janković
discontinued working with ceramics and porcelain. Ceramic
art was at the beginning in Serbia of the time, there were no
porcelain factories and this made products designs
superfluous. In 1930s there appeared new trends in
experimenting with sculptural and pictorial potentialities of
ceramics. Janković had no affinity for such an approach. He
used different media to shape and decorate objects in
accordance with their function and not to translate
characteristics of one medium into another. Dušan Janković
was a professional applied artist and designer whose work
exceeded by far the habits and needs of the inter-two-World-
Wars Serbia. This is particularly true of his work with
ceramics, porcelain and fashion.

The three magazines published in Belgrade between the two
World Wars: Женски покрет, Женски свет and Жена
данас, had maintained constant dialogues with all social
walks of life simultaneously shaping and offering different
models of woman's identity. High circulations of printed
media helped establishing rules of consumerism and
understanding of visual messages basically linked to the
structures of social powers. They also offered basis for
imitations as well as for identifications. Belgrade press
favoured photographs used as illustrations in a similar
attitude existing in other European countries. In modern mass
and media culture the press and photography locked in a
symbiotic grip gained momentum in the 1920s and 1930s by
addressing the numerous and heterogeneous pubic in Serbia
as well as in the newly established and much more populous
state – Kingdom of Serbs, Croats and Slovenes, which was
later to become the Kingdom of Yugoslavia.
Front page photographs in the mentioned but also in all other
magazines and journals are liable to different interpretations;
however, the main issue this analysis raises is: in which way
the new image/model of a woman was devised and how this
image was conveyed to the public having in mind the effects
on and consequences to the privacy and subjectivity domains.
To put it more precisely, which were the mechanisms an
individual would apply in shaping and consuming one's own
visual representations in mass media? Or, which photographs
were selected by women editors of women's magazines in
order to offer them to other women as visual and construed
ideals and models of behaviour?
The analysis focused on three magazines - Женски покрет,
Женски свет and Жена данас, proved existence of two basic
and stylised models developed in the period between the two
World Wars: a modern and a new woman. Naturally, each of
the two models had its variants: glamour girl, single woman,
luxury fan etc. Visual elaboration of the two leading models
revealed certain tactical and different instruments to have
been used in the creative process of representation. If front
pages of the Женски свет are recognizable for their coherent
poster solutions thus providing the largest possible space for a
photograph on a printed sheet, then the Жена данас would
be remembered for its extraordinary and socially engaged
photo mounting which can be compared with the front pages
of the German Arbeiter Illustrierte Zeitung (ABZ) and
designs of John Heartfield, at least when the most successful
solutions are concerned.
Idealised media images in all the three analysed magazines
were equally responsible for the shaping of specific woman's
culture. There was no passive standpoint either in production
and consuming of mass media images or in the process of
building one's own integrity concept. In the process of
interpretation of multi-media messages by image/text as
offered by woman's magazines both now and then runs a
constant inter-subjective communication which implies the
process of negotiation between the socially and culturally
desirable positions on one side and the private and personal
attitudes of the subject on the other.
Defined models of new woman, modern woman, luxury fan,
self-confident woman, single woman, glamorous girl, as
identified on the basis of the analysis of the front pages, had
the function of visual stereotypes which were subject to fast
changes in the twenty years of the between the two World
Wars period. One should remember that these three
magazines including many others not mentioned here, were
addressing the public which already had learned about
specific woman's culture and feminism. It was only under
these conditions that it was possible to accomplish intersubjective
communication which used different visual and
textual forms along with photographs: drawings, surveys and
letters by readers, personal advertisements and interviews.

The following essay aims at describing the designs of Krzysztof Ingarden, one of the best Polish architects, in the vein of reinterpretation of the tradition of arts and crafts in Cracow (also known as the Cracow school of architecture). However, these designs are neither an imitation, nor an overtly nostalgic return to the past, but rather an attempt at expressing of the much-coveted, elusive identity of rapidly modernising Poland – through both material experiments and concepts that are rooted in the genius loci. The paper discusses the accomplishments of the applied arts movement in Cracow (c. 1900–1925) and the recently completed projects by the office Ingarden & Ewy': Polish Pavilion for the Expo 2005, Japan; Wyspiański 2000 Exhibition Pavilion, and the Garden of Experience (The Garden of Stanisław Lem), both in Cracow.

Key words:

Krzysztof Ingarden, tradition of the Cracow school of architecture, reinterpretation, material experiments